As a digital artisan, I work in an exacting medium; every element which is put together is based on a mathematically accurate model, even when modelling facsimiles’ of real world items, the starting point is a perfect cube, sphere or cylinder. This reliance on an ideal [perfect] primitive, is partly a technical restriction of the medium, but I also an aesthetic legacy of computer science, which is based on the classical aesthetic of the perfect. There is no longer a [aesthetic] reason to be restrained by the perfect.